The Forty Martyrs of Sebaste

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The Forty Martyrs of Sebaste, 10th century AD,  ivory relief panel from Constantinople, Museum für Byzantinische Kunst, BODE Museum, Berlin
https://history2701.fandom.com/wiki/The_Forty_Martyrs_of_Sebaste

The Forty Martyrs of Sebaste Ivory Icon at the BODE Museum in Berlin is a favorite of mine for making me think, reflect and compare.

First of all, I like the story of these 40 tough Roman soldiers, devoted to their faith, suffering… in the city of Sevaste, in Armenia, during the reign of Emperor Licinius, and under the presidency of Agricolaus, in the year 320 AD. Their story is beautifully told by MATHEW in http://dignareme.blogspot.com/2017/03/the-40-martyrs-of-sebaste.html

Then, I like Byzantine Ivory Carving! What a magnificent medium in… small-scale. Byzantine Art is not only about monumental, awe-inspiring mosaics and frescoes. The aficionados of Byzantium find equal pleasure even more! in artifacts of smaller scale, like luxurious ivories, silverware, glassware, and jewelry, even humble pottery and woodwork.

I am fascinated by Ivory itself. One only has to imagine the caravans or the galleys bringing to Constantinople African elephant tasks, the anticipation of the artisans ready to put their expertise into practice, and the eagerness of the buyers as they consider one more coveted possession. During the 10th and the 11th centuries, Byzantine Ivories were popular among the City’s aristocrats and highly prized as Imperial gifts to foreign dignitaries.

Meticulously carved, ivory icons, consular diptychs, or pyxides, enchant us today with their beauty. “The allure of this substance is easily understood: its smooth, tactile quality and creamy color made it ideal for the creation of” amazing works of art, just like the Icon of the Forty Martyrs of Sevaste in the BODE Museum.

Fresco painting by Luca Signorelli (1499) of Paradise, Orvieto Cathedral, Orvieto, Umbria
The Forty Martyrs of Sebaste, 10th century AD,  ivory relief panel from Constantinople, Museum für Byzantinische Kunst, BODE Museum, Berlin

Is this amazing carving a case of Byzantine Renascence? The depiction of forty agonizing bodies, winding and twisting, reminds me of Signorelli’s fantasia of Paradise and Hell in Orvioto’s Cathedral, in the Capella of San Brizio.  Are there missing links connecting these two masterpieces I don’t know about? Whatever the answer is, the BODE Ivory Icon is a strategic player in the equation. https://www.metmuseum.org/toah/hd/ivor/hd_ivor.htm and http://www.travelingintuscany.com/art/lucasignorelli/sanbriziochapel.htm

For a “Similarities and Differences” Student Activity, please… check HERE!

Fresco painting by Luca Signorelli (1499) of Paradise, Orvieto Cathedral, Orvieto, Umbria

Aelia Galla Placidia

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Velp treasure Medallion of Galla Placidia, c. 425, gold, 5 cm in diameter, Département des Monnaies, Médailles et Antiques de la Bibliothèque Nationale de France
http://medaillesetantiques.bnf.fr/ws/catalogue/app/collection/record/ark:/12148/c33gbq95f

Known as the “most noble girl, the nobilissima puella” Aelia Galla Placidia is still today, revered for her family lineage, her astonishing life and her magnificent Mausoleum in Ravenna!

The Gold Medallion depicting Galla Placidia, splendidly framed and mounted as a pendant, in the Bibliothèque Nationale de France, made me think. She is presented to us in profile, her hair tightly braided, wearing a tiara with three rows of pearls. She is heavily adorned with jewelry. She wears ear pendants and a necklace with more precious pearls. She is depicted as a modest, yet fashionable lady. Her peplum, fastened by a fibula adorned with yet more pearls, covers her embroidered tunic, adorned with a Chi-Rho ornament on her shoulder. What a life she had! Imperial daughter, wife, and mother…

Aelia Galla Placidia was born in Constantinople, between 388 and 392, to Emperor Theodosius I (ruled 379–395) and his second wife Flavia Galla. She grew up in Constantinople under the care of her cousin Serena, her mother died in childbirth in 394, wife of magister militum Stilicho. Serena, an educated woman and a patroness of the arts, is probably responsible for the classical education Galla Placidia received, as well as her skills in weaving and the art of embroidery. The Roman princess, summoned by her father, was in Milan, in 395, where Theodosius I died.

It seems that Placidia remained in Italy, and was in Rome, in 408, when the Visigoths of Alaric I attacked. During these turbulent years, Placidia agreed to the execution of her cousin Serena. The following years were not easy for the “nobilissima puella.” By 410, she was a captive of the Goths and taken to Gaul, where, in 414 at Narbonne, with extravagance and pomp, she was married to the Visigoth chieftain Athaulf, King of the Visigoths from 414 to 415. When Athaulf was murdered in 415, she was once more taken captive by her husband’s enemies, “treated with cruel and wanton insult.” She was apparently forced to walk more than twelve miles along with the crowd of captives, suffering with such dignity that raised opposition to her enemies, leading to the assassination of their ruler, Sigeric. The new Visigoth leader was Wallia, Ataulf’s relative, and her supporter.

Ιn 416, Galla Placidia was finally returned to the Romans and soon after, her half-brother Honorius, Emperor of the West, forced her to marry the powerful Roman general Constantius. In 421, as Constantius III, Placidia’s husband became co-emperor in the West and she was proclaimed Augusta (Empress). Constantius’s death in the same year started a new set of unpleasant events for Galla Placidia. Emperor Honorius behaved towards her with “indecent familiarity,” they quarreled openly, and Placidia had no other choice than flee Ravenna with her children, seeking refuge in Constantinople with her nephew, the Eastern Emperor Theodosius II (402-450).

During the final years of her life, Galla Placidia enjoyed the political power she was familiar with. On August 15, 423, Honorius died and on October 23, 425, her son, Valentinian III, was proclaimed Emperor of the Western Roman Empire. For twelve years Placidia served as Valentinian’s regent seeking to balance the power of rival, ambitious generals and thus, protect the well-being of the Empire. Galla Placidia died in Rome on the 27th of November, 450. Her final resting place is unknown. It seems unclear whether the famous Mausoleum in Ravenna was intended for Galla Placidia’s resting place. http://www.roman-emperors.org/galla.htm

Honorius and Galla Placidia are the Protagonists in a “Poem for two Voices” student Activity inspired by the Velp Medallions. The Student Activity Worksheet is… HERE!

San Michele in Africisco has an amazing story to tell!

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The San Michele Apse Mosaic is the main attraction of the Bode Museum in Berlin.

The 6th century Church of San Michele in Africisco has an amazing story to tell! It all started in Ravenna… when Giuliano Argentarius, a Byzantine court official and banker of great wealth and devotion, commissioned, as a votive offering to Archangel Michael, a new church in the Ravennate neighborhood known as Frigiselus.

Guliano’s Church in Figiselus, known as San Michele in Africisco, was magnificently adorned with mosaics and marble adornments. Unfortunately, the church as a place of worship no longer exists due to alterations and lootings. Very little of the original wall structures stand, while mosaics and sculptural pieces are scattered among the Bode Museum in Berlin, the National Museum of Ravenna, the Museum of Torcello, the Victoria & Albert Museum, and St. Petersburg. Today, in place of the church there is a Max Mara shop!

The Napoleonic Wars and conquest of Ravenna in 1805 are the beginning of the Church’s end. “San Michele was purchased by Andrea Cicognani and became a fish shop. In 1840 it was sold to antique dealer Giuseppe Buffa, who made a wood store out of it and built a wall to protect its apse mosaic. During those years an envoy of King Frederick William IV of Prussia was sent to visit the church, and he ordered the purchase of the apse mosaic. He obtained Pope Gregory III’s permission to take it to Berlin, but first, it was necessary to remove the mosaic from its wall support. Alessandro Cappi, secretary of the Accademia delle Belle Arti of Ravenna, refused to detach the mosaic… but Vincenzo Pajaro, a Venetian antique dealer, removed the mosaic…and eventually sent it to Berlin.” http://www.mosaicoravenna.it/convegno/la-diaspora-dellarcangelo-san-michele-in-africisco-e-leta-giustinianea/?lang=en

Today, the San Michele Apse Mosaic is the main attraction of the Bode Museum in Berlin. The mosaic’s main composition depicts a rare youthful and beardless Christ, standing between the winged Archangels, Michael and Gabriel, holding a monumental, bejeweled Cross and an open Bible. The apsidal mosaic is placed under a frieze of vines and doves, supposed to represent the Twelve Apostles.  Missing today, the Apse mosaic is flanked by standing depictions of Cosmas and Damian, the early Christian medicinal saints. Right above the apse, on a frieze-like wall, the 6th-century mosaicist depicted an older looking, bearded Christ, seated on a throne, flanked, once more by the Archangels and seven angels sounding trumpets.

Apse mosaic from San Michele in Africisco in Ravenna, partly labeled in Italian, signed Puhl & Wagner, 2nd half of the 19th century, watercolor, 48×61 cm, Berlin, sculpture collection and Museum of Byzantine Art SMB

Very little is known about Giuliano Argentarius, the founder of San Michele in Africisco. However, I did find some information about his extraordinary deeds in an article titled “Banking in Early Byzantine Ravenna” by Salvatore Cosentino. For more… please check: https://journals.openedition.org/crm/13746

Valuable information about the Church and its Mosaics can be accessed in “Reassembled Art and History: The San Michele in Africisco (Ravenna)Mosaics” by Carla Linville White, 2014, Louisiana State University and Agricultural and Mechanical College Master’s Theses: https://docplayer.net/54185237-Reassembled-art-and-history-the-san-michele-in-africisco-ravenna-mosaics.html

For a 3D Reconstruction of San Michele in Africisco by Lorenzo Mariani, please see: https://www.youtube.com/watch?v=FON1E-z5sIU

For a PowerPoint on the Church of San Michele Africisco, please… check HERE!

Portrait Bust of a Woman with Scroll

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Portrait Bust of a Woman with Scroll, late 4th-early 5th century, Pentelic marble, 53 x 27.5 x 22.2 cm, the MET, NY
https://www.metmuseum.org/art/collection/search/468716

Portrait Bust of a Woman with Scroll is a Constantinopolitan in origin portrait of an aristocratic Lady, I find fascinating!

The MET’s portrait presents a woman of high rank, aristocratic, educated, sensitive and demure. She survived, self-possessed, centuries of Constantinopolitan destruction, fire and plunder, alone, to finally arrive at the MET without her companion… She originally stood next to her husband, both holding a scroll, wishing they were remembered as a sophisticated couple of learning and culture…

My imagination, as you can see, runs wild… I see them standing in front of their double portrait admiring the soft carving and the delicate contours of it. They look appreciative of the highly polished, alabaster like, finishing of the carving and approve the young master sculptor’s ability of fine quality workmanship. They are eager to commission a new set of statuettes presenting  Mythological Hercules, symbolic Hero of their new Christian faith. They are great patrons of the arts. Their estate in Constantinople is famous for its beauty and treasures. Their library is legendary. As they stand admiring their new acquisition, they are expecting two new manuscripts, a scroll of Joshua’s adventures, and another scroll on the Book of Psalms…

According to the Metropolitan Museum of Art “This sensitively carved portrait bust presents a mature woman with a thoughtful expression and piercing gaze; the scroll held in her right hand signals an appreciation for classical learning and marks her as a member of the elite. She wears a mantle, tunic, and head covering, typical dress for an aristocratic woman. Such head coverings did not come into fashion until the fourth century. The bust likely formed part of a commemorative display, perhaps documenting a public donation, or was used in a domestic setting.” https://www.metmuseum.org/art/collection/search/468716

For me, art history teacher, this Portrait, a superb example of the Late Antique – Early Christian work in sculpture, is an opportunity to discuss artistic developments of the period. This is the reason why I prepared the attached PowerPoint on Female Portraits of the Late Antique-Early Christian Period… HERE!

Nea Herakleia Reliquary

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The Nea Herakleia Reliquary is exhibited in the Museum of Byzantine Culture, a favorite museum of mine, in Thessaloniki, Greece. http://odysseus.culture.gr/h/4/eh431.jsp?obj_id=4751&mm_id=983

The Reliquary in focus is a small rectangular silver box of hammered silver with a hinged lid. The lid has been badly damaged in several places, but its four decorated sides are in relatively good condition. The Traditio Legis, Christ’s passing of the law to Saints Peter and Paul adorns the front side of the reliquary. The other three sides, inspired by the Old Testament, present three very popular and symbolic scenes, the Three Hebrews, Daniel in the Lion’s Den and Moses receiving the Law. The lid is decorated with a Christogram flanked by the Greek letters α (alpha) and ω (omega) defining the omnipresence of God, the beginning and the end, as α is the first letter of the Greek alphabet and ω its last. The sides of the reliquary’s lid are decorated with a vine scroll with leaves, quite beautifully chiseled, and grapes. https://leipsanothiki.blogspot.com/2014/02/245.html

Kurt Weitzman in his “Age of Spirituality” the introductory essay says that “The transition from the dying classical to the rising and finally triumphant Christian culture was a complex process, extending over several centuries, in which the two coexisted and competed with each other.” He is so right! The Nea Herakleia Reliquary, a relatively unfamiliar example of silverwork, is an amazing example of this extraordinary era. An item of the Christian faith, decorated with New and Old Testament scenes, the Reliquary in focus, is an example of a movement in art, scholars often call the “Theodosian Renaissance.” The artist focused his interest in the depiction of the human body, facial expression, and movement. Very little else matters, with probably the exception of the two Lions flanking Daniel. There are restrictions or exaggerations in corporeality, but modeling is plastic in conception, postures are natural, facial expressions emotional and drapery softly modeled. This is indeed an exceptional work of art worth exploring further. http://odysseus.culture.gr/h/4/eh430.jsp?obj_id=4751

Visiting the Thessaloniki Museum for Byzantine Culture is a true cultural experience. In 1989, the Museum’s architect, Kyriakos Krokos, wrote: “I wanted a space within which movement would create a feeling of freedom, stirring up the senses, and where the exhibit would be a surprise within the movement. I believe that as visitors walk through the Museum Halls there are many pleasant surprises.  The floor and wall mosaics in the first Early Christian Period Room, attract everybody’s attention. The Byzantine tunics with their fine embroideries, the icons and the intricately illuminated manuscript in the Middle Byzantine Period Room are definitely noticed. Finally, as the visitor is about to leave, one last surprise, a beautiful Post-Byzantine golden eikonostasi, one last startling work of art to ponder about. https://mbp.gr/en/building

For the PowerPoint Teacher Curator prepared, please… Click HERE!

Teacher Curator also prepared a student RWAP (Research – Writing – Art -Project)… presented HERE!

Grade 6 student project on the Nea Herakleia Reliquary

The Joshua Roll

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The Joshua Roll, 10th century, Tempera and gold on vellum, Biblioteca Apostolica Vaticana, MS Pal. gr. 431, Vatican City

When I think of Byzantine Manuscripts, the first one that comes to my mind is the Joshua Roll… unique, luxurious and remarkable in every aspect… Hellenistic in spirit!

Dated in the 10th century, this Macedonian Renaissance illuminated manuscript comes to us in a very rare format, a Roll… 31 cm high and about 10 meters long, one of the most priceless treasures in the Biblioteca Apostolica Vaticana. The master artist of the Joshua Roll is unknown, but he definitely belonged to a selected group of Constantinopolitan painters trained in a style much influenced by the classicizing tradition prevailing in the Imperial Court of the time.

The Joshua Roll is dedicated to the Old Testament Book of Joshua. Although incomplete, as it starts with Chapter II and ends with Chapter X, it presents the most important adventures and military accomplishments of the great Israelite figurehead. Joshua was originally Moses’ assistant and after his death, the leader of the Israelite tribes, leading them in conquering the promised land of Canaan. When the Joshua Roll was created, the Byzantines were, after a long period of defence, able to successfully campaign in the Holy Land, enjoying decisive victories. Scholars believe that the illuminated manuscript was meant to glorify the military success of the Byzantine army, and exalt their Emperor.

The Joshua Roll is a very unique Codex, unparalleled and unrivalled in the whole world… yet enigmatic! The Bibliography of the Joshua Roll is extensive and challenging. In 2012 another volume was added – Wander, Steven H. The Joshua Roll. Wiesbaden: Reichert Verlag, 2012. pp. 224. ISBN: 978-389-5008-542 – where information of interest and controversy was added to the already extensive arguments. Wander “dates the manuscript to 961 and connects it to the patronage of the powerful middle Byzantine eunuch, courtier, and illegitimate son of Emperor Romanos I Lekapenos (r. 920-944), Basil the Parakoimomenos (chamberlain) (c. 925-c. 985).” Wander takes his controversial interpretation one step further, he “proposes that the Joshua Roll was the study for a small-scale triumphal column that would have commemorated Basil’s military success in the East during the reign of Emperor Constantine VII Porphyrogennetos (r. 945-959).” His arguments, important and novel, challenge long-standing assumptions. (Wander, Steven H. The Joshua Roll. Wiesbaden: Reichert Verlag, 2012. pp. 224. ISBN: 978-389-5008-542 (hardback) and an interesting review https://scholarworks.iu.edu/journals/index.php/tmr/article/view/20003

…and the Joshua fresco from the Hosios Loukas Monastery
https://contentdm.lib.byu.edu/digital/collection/CivilizationHamblin/id/1892/

My favourite assumption is the Roll’s connection to monumental art, and more specifically the art of wall painting. There is a striking connection to a recently discovered fresco in the church of Hosios Loukas in Phocis, and the extraordinary fresco Marian Cycle of the church of Santa Maria Foris Portas a Castelseprio, dazzling its viewers today as it did in 1944 when they were discovered! The similarities between the Joshua Roll illuminations and the Castelseprio frescoes are long-standing, as they are both considered the products of a common artistic tradition. (On Hosios Loukas and the Joshua Roll: Carolyn L. Connor, “Hosios Loukas as a Victory Church,” Greek, Roman, and Byzantine Studies 33, no. 3 (1992): 293-308, esp. 304-305 and on Castelseprio: Kurt Weitzmann, The Fresco Cycle of S. Maria di Castelseprio, Princeton: Princeton University Press, 1951)

Santa Maria Di Castelseprio Photos
https://cartesensibili.wordpress.com/2014/05/29/mete-di-viaggio-raffaella-terribile-un-piccolo-scrigno-riscoperto-santa-maria-foris-portas-a-castelseprio/

Coming back to my original statement, the Joshua Roll is… unique, luxurious and remarkable in every aspect and so much so Hellenistic in spirit! The Byzantium I love!

For a Full Digital Fascimile of the Manuscript, please check the site of the Vatican Library: https://digi.vatlib.it/view/MSS_Pal.gr.431.pt.B

For a Joshua Roll Student Activity… check HERE!

Church of the Holy Saviour in Chora

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The Church of the Holy Saviour in Chora, part of a grand Monastery, has many stories to tell…

Tradition has it that the church, the Katholikon of a monastic complex, was originally built during the early 5th century, outside the walls of Constantinople, and its full name was “The Church of the Holy Redeemer in the Fields,” It makes sense. When the city of Constantinople expanded at the time of Theodosius II (408-450), and formidable land walls were built by the Emperor, the monastery retained the name Chora (in the Fields), but became part of the defended city.

Historical evidence tells us that it was Maria Dukaina, the mother-in-law of Alexius I Comnenus, who rebuilt the Chora Church and Monastery around 1077–1081 as a cross- domed church, a popular architectural style of the time. Early in the 12th century, yet another Comnenus, Isaac, the 3rd son of Emperor Alexius, stepped in, restoring the church after a disastrous earthquake.

Two centuries later, around 1316-21, the powerful Byzantine statesman Theodore Metochites enlarged the church and embellished it with many fine mosaics and frescoes. Today, the Church of the Holy Saviour in Chora stands as one of the finest examples of the Palaeologian Renaissance, in architecture and mosaic-work. Theodoros Metochitis political career was turbulent during the later years of his life: He was exiled by the usurper Emperor Andronicus III in 1328, but two years later, he was allowed to return to the city and live out the last two years of his life as a monk in his beloved Chora Monastery.

Soon after the fall of Constantinople to the Ottomans, the Chora Church was converted into a mosque, named Kariye Camii, serving the city’s Moslem population up until 1958, when it officially opened to the public as a museum, the Kariye Müzesi. Much of what we see today, much of what we know about Chora Church and Monastery is the work of Thomas Whittemore and Paul A. Underwood, from the Byzantine Institute of America and the Dumbarton Oaks Center for Byzantine Studies, who in 1948, sponsored a restoration and research program.

“Fear not, for, behold, I bring you good tidings of great joy which shall be to all people” Luke 2:10

I can only describe the Chora Church mosaics in general, and the Church’s Nativity scene in particular, as…brilliant,  outstanding, remarkable and exceptional! They best represent the refined taste of Theodore Metochites, a man, passionate about Greek antiquity and obsessed with the ancient Greek idea of ‘grace’ in art. I stand in front of them and I see elegance, harmony and balance in their compositions. I am amazed by the grace, sophistication and spirit of the depicted figures. I feel warmth, as I am enfolded by their divine light. I marvel at their Hellenistic artistic heritage…

Best Wishes for the Holiday Season!!!

ΥΓΕΊΑ ΣΕ ΌΛΟΥΣ

A PowerPoint on the Nativity scene in the Church of the Holy Saviour in Chora is… HERE!

Hercules and the Lion of Nemea

by with No Comment ByzantiumPowerpointsStudent Activities

The 6th to 7th century Constantinopolitan Silversmiths were great masters of their craft. Inspired by Greek Mythology, and stories of the Old or the New Testament, they created unique artworks equally important to their monumental counterparts. The 6th-century silver Plate in the Bibliothèque Nationale de France depicting Hercules and the Lion of Nemea beautifully exemplifies their fine workmanship.

The contest between Hercules and the fierce beast takes a central position, within a typical landscape of the time, simple, yet full of “antique” landscape motives. A bending tree to the right complements the shape of the silver plate, while to the left, a pedestal supporting a vase, balances the composition, adding stability.

Hercules, nude, massive and muscular with a thick neck, a heavy jaw, large eyes and curly hair, is depicted grasping the Lion by the neck, his hands disappearing into the beast’s luxurious mane. He is the undoubted winner of this fierce fight. The Lion is equally massive but succumbs to Hercules’s power. His foreleg, limp and weak, rest on the hero’s thigh, his grimacing face, a picture of exhaustion.

The unknown artist of this silver plate of Hercules and the Lion of Nemea illustrates a well-liked mythological story, popular during antiquity and the Byzantine period that followed. The plate was found in Italy in the Massa-Carrara area of Tuscany in 1771. It is dated ca. 500-600 AD. It was acquired by the Bibliothèque Nationale de France in 1890 and is part of its Département des Monnaies, Médailles et Antiques. The Plate was part of the spectacular “Ancient Luxury and the Roman Silver Treasure from Berthouville” Getty Villa Exhibition of 2014-15.

Bibliography: http://medaillesetantiques.bnf.fr/ws/catalogue/app/collection/record/ark:/12148/c33gbq9kr and https://www.metmuseum.org/art/metpublications/Age_of_Spirituality_Late_Antique_and_Early_Christian_Art_Third_to_Seventh_Century?fbclid=IwAR2T7bRUIaYH1cUyXgg-0KuAchuDZdxoNABmimn3TAQDhrC1x3V5Ys8Jcnk …pages 162-163

For a PowerPoint the Hercules and the Lion of Nemea, please… click HERE!

Student Activities on the Silver Plate of Hercules and the Lion of Nemea are… HERE!

The Jasper Cup from Vatopedi

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The Jasper Cup from Vatopedi is one of the most famous Late Byzantine works of art. It is a Chalice of silver-work and stone-carving, a rare example of refined craftsmanship, one of the finest pieces of the Palaeologan period. It belonged to Manuel Cantacuzenos Palaeologos (1349-80), Despot of Mystra, son of Emperor John VI Cantacuzenos (1347-54) and grandson of Theodore Palaeologus, Despot of Mystra.

The Cup, carved out of a piece of jasper, was created in a Byzantine workshop, in the shape of an antique broad-lipped wine-cup. The inscription on its rim reads “and he gave it to his disciples and apostles saying, drink of this, all of you …”. As this is the prayer from the Eucharist, as given in the Liturgy of St Basil, the Vatopedi Chalice was used as an ecclesiastical vessel.

The base is octagonal, its eight sections decorated with medallions containing, alternately, cruciform monograms and half-length hierarchs holding open scrolls. The monograms identify the owner of the vessel: M (Manuel), Δ (Despot), Κ (Cantacuzenos), Π (Palaeologus). For a more detailed presentation of the Chalice, please check: https://www.elpenor.org/athos/en/e218ci14.asp

The metalwork decoration, following byzantine models, intriguing techniques, and borrowed Gothic motifs, proves that a “Byzantine-Gothic” marriage of styles can create exquisite results.

For a PowerPoint on Byzantine Chalices, please… Check HERE!

For the Student Activity, I was inspired by Sarah Stone’s Work on “Byzantine Chalices”. I showed the students her work http://www.sarah-stone.net/byzantine-paintings.html and HERE! is what my Grade 4 students created!!!

Byzantine Chalices, inspired by The Jasper Cup of Vatopedi and Sarah Stone’s Byzantine Paintings

The Art of Portraiture during the Byzantine Period

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The Art of Portraiture during the Byzantine Period is an interesting topic to explore! Portraits have been a popular subject among artists and patrons throughout the ages. From ancient Egyptian renderings on Tomb walls at Saqqara, in Egypt, to Rembrandt’s Self-Portraits and the abstracted works of Pablo Picasso, artists have depicted all kinds of portraits and in a wide variety of ways.

For Byzantine Art, the representation of the human face is important, yet very specific rules need to be followed, so as to depict it correctly. Byzantine Portraits embody a spiritual presence and the eyes play the role of the protagonist! Thus, eyes are affectionately called … the windows of the soul!

“The Art of Portraiture during the Byzantine Period” is an Activity I use in my Grade 7 Art History Class on Byzantium. Students enjoy comparing the three different portraits, discussing similarities and differences and thus, drawing conclusions.

Living in Thessaloniki, Greece, a city with 15 Byzantine UNESCO Monuments of Cultural Heritage, exploring the Art of the Byzantine Period is imperative!!!

https://whc.unesco.org/en/list/456

Student Activity

This is a Project that requires four parts: 1. A nicely written title 2.      Colored copies of the three Byzantine Portraits, correctly identified 3. Answers to assigned Questions 4. An Art Project

For more on “The Art of Portraiture during the Byzantine Period” Activity… Click HERE!